Robert Eggers’ measured, meticulous debut builds into one of the most genuinely scary horror movies of recent years.

Charlie Kaufman shows us what it is to be human. Plus the best use of Cyndi Lauper’s ‘Girls Just Want To Have Fun’ in the movies.

Bloodthirsty, derivative and xenophobic nonsense.

The strange thing about Grimsby is that it works much better as a Bond-spoofing actioner than it does as a politically incorrect rib-tickler.

This is the anti-Heat: no sheen, no shimmer, no obsessing over highly grandiose themes and precise compositions; just grime and desperation.

For the most part a surprisingly fun, bloody take on Jane Austen’s classic – but it does turn stale as the final reckoning approaches.

More Blue Steel than Magnum, this is a perfectly serviceable sequel, but dogged by repetition, it lacks the original's speed and sizzle.

Ends up an impressive addiction drama. Stay with it and it’ll stay with you.

Loud, lewd, inventive and outrageous, Deadpool is a delight. All credit to Reynolds and co. for having the steel balls to go this far.

Hail, Caesar! is a love letter inked in arsenic, at once celebrating the artistry of Hollywood and cringing at the crass commercialism and rampant phoniness of it all.

As Johnson enters Columbine-style turf, a clearer slant on our modern mindset is required than the one he offers.

A rigorously detailed telling of an important story that never loses sight of the human devastation. Terrific turns from the ensemble cast.

Taking Lorius’ own incredible expedition footage and giving it a whimsical bent and a voiceover, Jacquet shapes a powerful portrait of the world and its soothsayer.

A prize-winning page-turner becomes a moving, harrowing and redemptive drama about the ties that bind a mother to her child. Be warned: one box of tissues may not be enough.

Not without glitches but an energetic study of one woman’s refusal to settle for anything less than her share of the American Dream.

The Hateful Eight brands the western with a big ‘QT’. All you’d expect from a Tarantino movie and more besides. Saddle up.

Eddie Redmayne shines as a transgender trailblazer. But a stiff love story and stately staging make this Danish too sweet…

Defying all boundaries, Martyrs relentlessly dishes the visceral pain and emerges as a work of not just ceaseless terror but also gravity and beauty.

Star Wars: The Force Awakens is not perfect nor could it ever be. But for every niggle...there are 10 things that are exactly right, and it says much that no one will leave disappointed despite going in with hysterical levels of expectation.

Laugh-out-loud in places. Frustratingly flat in others. Sporadic giggles guaranteed. Fey and Poehler’s comic chemistry is undeniable; shame the script didn’t get a Liz Lemon rewrite.

Fun enough, but not the lightning-bolt-to-the-heart update we hoped for. For a far superior update of the Frankenstein myth, read Stephen King’s Revival.

If buddy movies are your thing but Christmas flicks aren't, you'll enjoy this refreshingly edgy romp about three friends lost in the city full of hallucinogens and regrets.

Astounding. With a director, DoP and cast at the top of their game, The Revenant is a filmmaking triumph.

Given the weighty themes of Moby Dick, In The Heart Of The Sea doesn't have a lot going on behind the outward action. The composite parts are in fine working order; it's the sum that's slightly lacking.

It doesn’t exactly soar and the lack of levity grates, yet the Spooks movie still delivers some appealingly old-school mayhem.

Simple but effective, The Good Dinosaur doesn’t reinvent the wheel, but it’s still damn fine family entertainment. Slow to get going, it comes into its own when its heroes buddy up.

Jarrold struggles to sweep things along with quite enough vigour – budget constraints crowd the edge of the frame – but Gadon is intoxicating as Elizabeth.

Under Haynes’ sure hand, Blanchett and Mara deliver a love story to melt to. Every glance means something, no strain shows: it’s filmmaking as natural as breathing.